2016 is slowly but surely coming to an end and, despite opinions that the DSLR or Mirrorless camera market is dying due to the introduction of more affordable, large-sensor, dedicated video cameras, the market is blooming with new shiny alternatives. Just look at the FUJIFILM X-T2, the Olympus E-M1 MII and the upcoming Panasonic GH5. The manufacturers behind all of those cameras like to emphasise the video capabilities they’ve built into their new creations, making it clear that it was not just an afterthoughts or accidental move, but rather an important add-on to their good to excellent photo equipment.
Personally, I love these type of cameras. They allow me to travel compact, avoid unnecessary customs declarations and delays, they attract less attention, are modestly priced for the most part, and can be very versatile when adding additional equipment. We can talk bits, bytes, codecs and resolutions all day long, but at the end of the day the video quality coming out of these small devices was simply unheard of until a few years ago, especially for the price. They also can and will suit most of the indie video productions many of us are doing. That said, there is generally that “hit and miss” aspect to most of these releases, both past and new, as they lack at times some essential features.
Making the Dream DSLR or Mirrorless Camera Come True
Here at cinema5D we participate in constant meetings with distinguished manufacturers, and we do our best to communicate and deliver an accurate picture of what we think is needed in order to make that “dream DSLR or Mirrorless camera”. This time, we’ve decided to approach our audience and ask the help of the community in order to define and fine tune what are those “essential features” we are looking for. Because we all work differently and have different approaches to filming, the answers are bound to be diverse, so in order not to keep the discussion concise, we decided to make a small list of features that we think might increase the functionality of cameras such as these. We ask you folks to kindly vote for those that will help you in your work as creative operators.
Rest assured, we will be submitting the results of this poll directly to the manufacturers, including a link to this article so that your voices can be heard. Let’s see if we can help make the “dream DSLR or Mirrorless Camera” a reality!

Have you ever wondered: what does a Grip do? In truly timeless 90’s Docu fashion, Mark Vargo, ASC takes us on a journey explaining the role of the grip department, with insight to popular camera and light modifying tools they use day to day.
With filmmaking becoming as accessible and self-sufficient due to today’s technology, many people are coming into the industry with a do-it-all-yourself attitude and have never, and maybe will never, come into contact with a traditionally structured professional film outfit.
That means that when you check out the Behind the Scenes of your favourite Hollywood movies, you have no idea what that Craghopper clad, burley guy holding a piece of metal is doing.
Believe it or not, you shouldn’t really have to keep an eye on your reflector leant up against a camera bag and light stand as you delicately try to poise the camera on a slider & double stacked tripod head. In a professional production, there is a whole department that deals with that for you.
Mark Vargo’s video above does a good job highlighting the key roles of a grip, whilst going into a little detail regarding popular used tools, such as grades of gobos (light modifiers that “go between” the lights and the talent).
Outside of Hollywood movies, Grips are widely used in the commercial industry, as well as high profile corporate, narrative and music videos. The smaller the jobs are, the more blurred set roles can become.
Basically speaking, the Grip Department is responsible for camera and lighting support. The key word here is support, where they never usually touch a light fixture or piece of camera kit, just the supporting elements.
Mark Vargo describes them as skilled technicians drawing experience from highly technical vocations. I couldn’t have put it better myself.

At Photokina 2016, Leica presented an intriguing cinema camera concept – The Leica Leicina VC. With a vague definition by intent, the purpose of this design is merely to open up a look into the future of Leica cinema cameras.
Leica Leicina VC
The Leica Leicina VC concept borrows its design and name from their old 8mm Leicina camera dating back to the age of compact analogue filmmaking.
Even though the device is called a “Viewfinder Concept”, during my talk with Tommaso from CW Sonderoptic (see video above) I realized that this is more than a viewfinder, or even a director’s viewfinder for that matter.
The purpose of this design concept is first and foremost to hear what people imagine as the future of Leica cinema cameras and cinematic tools; a study that should spark ideas and the imagination.
The Future of Leica Cinema Cameras?
The Leica Leicina VC could potentially kick off an interesting debate, but I still wish Leica had been more specific in terms of what they had in mind with this tool. We can clearly see a trend that professional cinematic tools are getting smaller and smaller. The Arri ALEXA Mini comes to mind, but the popularity and relevancy of devices like GoPro’s and DJI Oslo’s, or even 4K mirrorless cameras are a testament to the same movement.
It is no question that Leica has jumped on the train to create tools for filmmakers. Just yesterday we talked about the future of medium format video cameras. Check out my article if you haven’t read that already. So far Leica offers video features in both the Leica SL and Leica S, and with a presentation like the Leicina VC it is probably safe to say that we will see more Leica cinema cameras in the not too distant future, and I for one hope to see some advancement in this area at the next Photokina 2 years from now. Exciting times for cinema camera enthusiasts!
What do you think about Leica’s Leicina VC concept? Where will they take this and how would you imagine the future of Leica cinema cameras?

The SYRP Slingshot is a wirecam setup that adds dynamic motion and expansive length to time-lapses at an affordable cost.
Have you ever wanted to capture longer motion timelapses where a slider track just isn’t long enough? Enter SYRP Slingshot, a wirecam package that can reach distances of up to 300 feet (100m) with up to 3-axis camera movement using the SYRP Genie and Genie Mini.
The SYRP Genie works as the motion control device, moving the carriage along parallel wires of your desired length, whether that’s 25m or 100m. Inter-operable with your camera, the Genie moves the carriage with the time-lapse function to create smooth and unique perspectives that can’t be achieved without the need to spend lots of money. Some of the time-lapse shots in their demo video are incredible!
SYRP have designed the Slingshot with simplicity of setup and control in mind, with two mounting brackets, straps, wires, carriage and Genie all fitting into a compact bag.
The maximum payload of 8kg is enough for a weighty camera and lens combo. The example video shows a Canon DSLR and lens weighing around 4kg which should give you an idea. It seems that as the Genie controls the intervalometer for movement, a continual move along the wires might not be possible. However, for time-lapse photography, it certainly goes above and beyond what you can normally capture with a static shot or even short distance movement.
The SYRP Slingshot is available in a number of packages, with the standard ‘Slingshot’ package consisting of –
1 Slingshot (25m Slingshot rope and 25m Genie rope).
1 Slingshot carry bag
That kit comes in at $989.00, a very affordable package compared to, for example, the Kessler Second Shooter. Of course, you’ll need a SYRP Genie to actually move the carriage, so you can get a bundle with a Genie, the link cable and ball head for $1887. The Slingshot is available now!
Are you looking to shoot expansive time-lapse scenes and need a setup like this? Let us know in the comments!

After the Panasonic GH5 was launched today, here’s another impactful announcement. GoPro has gone all out. Introducing “Karma”, GoPro’s own move into the Drone market. GoPro Hero Black 5, a 4K capable sports camera, as well as its little cousin the GoPro Hero Session 5.
GoPro has been incredibly quiet the last couple of months. While they have been the go-to extreme-sports camera company for the last couple of years, companies such as Sony and DJI have been creeping in and taking away their market. Everybody has been asking, where are they? DJI have dropped GoPro as their entrance-level drone camera, and have built their own. Sony has targeted GoPro directly, with a small compact action-based camera system.
GoPro are on the counter-attack. It seems GoPro have done it again. Nick Woodman, Founder and CEO of GoPro introduced the new range of GoPRO products:
GoPro HERO 5
The new GoPro HERO 5 is a completely redesigned GoPro action camera introducing a lot of new features. The GoPro Hero Black 5 features a 12 megapixel /30fps burst timelapse camera. It can shoot 4K at 30fps, 1140p at 80fps and 1080p at 120fps. The new GoPro does not require an underwater housing, it is water-proof straight out of the box (up to 10m). With built-in image stabilisation, wifi, bluetooth and location capture and voice control (for 7 languages) and auto-upload feature to GoPro’s own cloud service this small camera is a power house. The 2″ touch display shows a simplified menu. To top it all off, RAW and WDR photos are now standard.
Voice control
No more case
3 mics
Hardware Image Stabilization
Auto-upload video and photo into the cloud
The GoPro HERO 5 is the “GoPro they always wanted to make”. You can get your hands on a GoPro Hero Black 5 for just $399.
GoPro Session 5
The little cousin GoPro Hero Session 5 was also introduced. It features a 10 megapixel camera and can shoot 30fps in 4K, 80fps in 1440p and 90fps in 1080p. It also includes video Stabilisation, as well as GoPro’s new voice control. The GoPro Hero Session 5 is water-proof up to 10m as well.
Voice control
4K Video
1 button contro.
Wifi – Use smartphone to monitor GoPro Session
The GoPro Hero Session 5 will cost $299
GoPro Karma
The GoPro Karma Drone is GoPro’s very own DJI Phantom. It folds away into a really small form factor and uses the new GoPro HERO 5 to record your aerial footage.
GoPro Karma Announced by Nick Woodman, CEO of GoPro
Karma is so much more than a drone – Nick Woodman, CEO of GoPro
Karma will go on sale on October 23rd. It will cost $799 alone, $1,099 with a Hero 5, or $999 with a Hero 5 Session.
GoPro Karma Grip
GoPro Karma Grip is basically a DJI Osmo clone with a GoPro HERO 5 in it. What is nice is that the Karma Grip can be attached to traditional GoPro mounting accessories and thus turning your GoPro mount into a fully gimbal stabilized GoPro.
GoPro Plus and Quik App Editing Software
GoPro have started their own cloud based service, which allows your files to be automatically uploaded straight from your GoPro devices to your GoPro plus account.
Nick Woodman demonstrated how easy the editing is using a Quik Key, a device which allows the micro-sd card to be plugged straight into your iPhone. The footage is downloaded to your phone or tablet, and using a few clicks and selecting your favourite soundtrack, the Quik App automatically edits your shots to the beat and to a duration you choose.
How much GoPro’s cloud-based service subscription fee will be remains unknown for now.

FilmConvert has announced support for the Sony a6300, offering accurate camera profiles to start your film stock emulation look on the sub $1k 4K mirrorless camera.
FilmConvert made the announcement earlier this month, and we’ve had a chance to apply the new profile to our existing in-the-field test of the Sony a630 above. Click here to read the full article on our first impressions of this camera.
Like many Sony cameras nowadays, the a6300 caused a bit of a stir on announcement, bringing APS-C log 4K recording in a mirrorless body at an even cheaper price (sub $1000) than the Alpha 7 series, not to mention its super fast auto focus. In addition to our First Impressions article, we’ve also lab tested the Sony a6300, and taken a good look at its low light capabilities.
We’re already seeing accessories like cages starting to pop up, and now support in the post production sector from FilmConvert demonstrates even further that third party vendors are taking note of this camera.
In case you hadn’t heard of it, in a nutshell FilmConvert is both a standalone software and extension app for NLE systems like Premiere Pro, Final Cut and Sony Vegas that offers realistic film stock emulation. You start with a base camera profile, tell the software what camera you are using and pair this with a film stock of your aesthetic choice. Grading can then be applied to tweak your desired look.
It’s support for the initial process enables you to accurately apply film stock looks to the Sony a6300.
Support includes all flavours of S-log 2 and S-log 3, as well as 709, Cine 1 and Cine 4. Download here.

The DJI Osmo RAW has finally arrived at the cinema5D office, as you may have seen in Nino’s Osmo review. But the focus of our attention is the DJI Zenmuse X5R Camera, which can be attached to the DJI Osmo with the Osmo X5 Adapter and produce powerful cinematic RAW footage in 4K with Osmo stabilization in an ultra-compact form factor.
[UPDATE]: We have now also compared the X5R to the X5 and X3: LINK
We were very curious to find out what the camera quality was really like. Here are our lab test results when compared to professional cinema cameras.
DJI Osmo RAW Compared to Professional Cinema Cameras
The DJI Osmo RAW version is quite a bold little camera. Very small, light and with a promise of 4K RAW that can also take to the skies when attached to the DJI Inspire 1. The integrated stabilizer makes this an extremely convenient tool, and the fact that there’s a potential for high quality footage with its RAW recording makes it compete with much more professional and expensive cameras. We’ve tested the ergonomics of the device, now let’s see how the little Osmo RAW compares in terms of image quality.
Dynamic Range
Dynamic range is difficult to measure properly, especially on a RAW camera where processing is done by the user and not by the camera. We’ve gone through DaVinci resolve to create a flat image of our recording and measured it with our software.
A good dynamic range rating allows us to capture more shadows and highlights in high-contrast scenes. The X3 camera on the original DJI Osmo suffers from a very poor dynamic range, which is especially problematic when capturing landscapes with the DJI Inspire 1 drone.
We’re testing usable dynamic range with a DSC labs XYLA-21 transmissive test chart. Unfortunately, our test lens, the Zeiss 50mm Cp2 macro, is not compatible with the Osmo, so we used the 15mm F/1.7 MFT lens that came with the Osmo X5R.
Our software measured about 12 stops of usable dynamic range on the DJI Osmo RAW (Zenmuse X5R camera). This is similar to the rating of the Sony a7S II, 3 stops more than the Blackmagic URSA Mini 4K and 2 stops less than the Arri ALEXA.
DJI advertises the dynamic range of the Zenmuse X5R camera at 12.8 stops. It is rare that manufacturers are upfront when it comes to usable dynamic range.
Note that a RAW camera doesn’t necessarily produce more dynamic range. Doing numerous comparisons with test charts, we have learned this over time. It is likely that the original Zenmuse X5 gives you more or less the same dynamic range. RAW on the other hand gives you finer gradations, more possibilities in post and an image that is more solid and can be graded further without destroying the image quality. When we pull up that information in the blacks there is noise, but a lot more steps are visible behind it, just like on the Blackmagic URSA Mini 4K that displays a lot of noise early on. 12 stops of usable dynamic range is a good rating for a cinema camera. It is also what the C300 mark II achieved. As always, the Arri ALEXA stays untouched with 14 stops of usable range.
The Blackmagic Micro Studio Camera 4K is also small and shoots RAW, but is not an alternative as this one was limited to about 5-6 stops of dynamic range in our tests.
Image Quality
We determine image quality by looking at sharpness (resolution) and aliasing with the help of stars and tubes. Usually they reveal where an image breaks down in terms of resolution.
The shots below were taken at the best ISO speed of each respective camera.
DJI Osmo RAW Image Quality – 100% crop of 4K image.
As you can see, despite any lens cushioning and lens softness, the DJI Osmo RAW is quite close to the Canon C300 mark II and more or less on par with the Varicam 35 / LT. The Sony a6300 is the only camera that leaves the others behind in terms of resolution. Who would have thought.
Looking at the a6300, it has become clear that size is not the deciding factor when it comes to quality resolution. The Osmo DJI RAW proves that yet again, with an impressive image quality that comes close to the bigger cinema cameras. Here are a few more comparison shots of other objects on the test chart:
In summary, I would say that in terms of image quality the DJI Osmo RAW can hold up remarkably well in comparison to professional cinema cameras currently on the market.
Lowlight
The DJI Osmo RAW X5R camera shines at ISO 100, but it quickly loses its power when you crank up the ISO. For the shots above I used minimal post processing. You can see that at ISO 800 there is already a considerable amount of noise in comparison to ISO 100. That said, look at the shot of the cat earlier on where the blacks were pulled a little and some noise reduction was applied. This has to be kept in mind when shooting RAW. You can still treat the image much better than from cameras that use heavy compression.
It’s clear that the Zenmuse X5R is not a lowlight wonder and the DJI Osmo RAW should be used at low ISO speeds. I would recommend not to go beyond 800 for high quality shots. Ideally you should stay low, because the Osmo RAW records at ISO 100 at all times. Any other ISO speeds you set in the app are just a “preview” and have to be processed (pushed) in post production.
Rolling Shutter
The famous rolling shutter effect that haunts CMOS sensors can be especially troubling on shots where a lot of movement is involved. The Zenmuse X5R that rides the DJI Osmo RAW and flies on the DJI Inspire 1 is certainly meant to be involved in a lot of moving shots.
Unfortunately, the Zenmuse X5R doesn’t shine here. With 25ms of readout time it is at the worse side of the spectrum, and most proper cinema cameras have much lower rolling shutter ratings.
DJI Osmo RAW Conclusion
Look at that tiny 4K camera and stabilizer. The DJI Osmo RAW certainly has a niche of its own. A small, stabilized camera that delivers 4K RAW images at 24p. There’s nothing like it right now that delivers RAW, is so easy to use and can be mounted onto an affordable and powerful drone. The question is whether or not the RAW can keep up with cinema standards and truly deliver high quality footage.
It is quite difficult to draw a definitive conclusion from what I’ve seen. On the one hand, the footage we get is really powerful, has beautiful deep gradations, a high resolution, organic look and can really be played with in post production. If you’re used to Inspire 1 drone footage, this upgrade will simply blow you away and the difference to a professional cinema camera like a VariCam, Alexa or C300 mark II will be hard to spot when properly post processed. Of course the Zenmuse X5R wouldn’t simply replace a cinema camera, as such a camera is about more than the final end result of a picture you can achieve. An Arri ALEXA is certainly still in a different class altogether, but I think the Osmo RAW will become relevant in the cinema sector for certain applications.
There are also a few shortcomings you should consider. In terms of a “true cinema camera”, rolling shutter is absolutely terrible. The Canon 1D C from Canon’s cinema line rightfully has a place in the same ranks here. But especially because the DJI Osmo RAW is used in situations with a lot of motion, the strong rolling shutter can be a problem that might put many professionals off. Another downside is the mediocre lowlight performance. If you’re coming from DSLR’s this will be limiting, but if you’re used to Blackmagic or film cameras you probably won’t notice it.
All in all, the DJI Osmo RAW is a remarkable piece of gear. In the right hands, when the RAW is exploited with some time in post production, this can be an extremely powerful tool. The fact that this is not just a camera, but a solution as a miniature gimbal camera for on the go or in the air is intriguing. Is the price of $4000 a lot? Yes. Is it worth it? You decide. Let us know your thoughts in the comments.

I recently had a chance to try the Osmo RAW (Zenmuse X5R) at a friend’s wedding. I shot the beginning at 1080p and the ending in UHD, but I shot the whole video in RAW. I used a standard picture setting as they are RAW files anyway, and transcoded into ProRes 4444 to edit. I didn’t change the color in the edit at all, so feel free to download the 4K/UHD file from Vimeo to play with.
Screw-up
Let me get this out of the way: having never used an Osmo before, I screwed up a number of shots right at the beginning without realizing. We couldn’t find the venue, so we just arrived at the same time as the bride, which meant I just had to grab the Osmo and go for it. I must have been in some kind of auto-exposure mode, and I couldn’t recognize how crappy these adjustments looked on the iPhone screen until I reviewed the footage after the first bit of shooting. So please excuse these terribly stuttery shots that occurred as a result of automatic shutter speed adjustments.
This leads us to the first problem with the Osmo: it really needs an ND because shooting high shutter speeds means that movements look jumpy – you should adhere to the 180 degree shutter rule whenever possible when filming, no matter the camera, and you can only achieve this by taking light away from your sensor with filters, particularly in bright daylight.
Impressive Technology
But let me really start by saying what an amazing device the DJI Osmo is in general. It’s a lot of smart technology in a very small package that feels very well thought out. It has a great feel, with all its buttons just in the right place, and the DJI Go app to control the Osmo from your phone is absolutely mind-blowing.
The Osmo doesn’t have a built-in preview screen. You connect your phone to a hotspot that the Osmo generates, and start the app. Tap on “camera” and you should immediately see the preview image. Surprisingly, the lag is so short that it’s barely noticeable, despite the Wifi connection.
The interface controls of the DJI Go app are extremely comprehensive, although some things are not in the logical place. I found the autofocus quite poor and unfortunately it can’t seem to track the objects you tap on on the screen – it just focuses once but does not keep them in focus. Switch to manual focus and you get a virtual focus wheel on screen, which surprisingly works pretty well. Long focus ramps should be avoided though, because going from macro to infinity doesn’t work in one go. Further camera settings are buried in the menu but in general the entire app is way more intuitive than your average camera menu from any Japanese manufacturer.
RAW recording
The new RAW version of the Osmo differs from the former X5 version by its raw recorder – a fan-cooled unit that records onto custom DJI SSDs that come at a steep price ($1800 for 512 GB). The quality of the raw footage is exceptional, and you can record half an hour of 4K or UHD footage onto a 512 GB card, or 4 hours of HD. I recorded the first part of my review in HD because I didn’t know how long the ceremony was going to last – I later changed to UHD recording.
Noise issues
There is one huge issue with the raw recorder: it’s extremely noisy. So much so, that it is impossible to record any usable sound with the device, and noisy enough to annoy the people you are filming. During the ceremony, I shot a few shots walking past the audience, adjusting the angle of the Osmo camera through the brilliant joystick so that it pointed sideways. I was about 2 meters away from the guests, and many heads turned because of the noise the device was producing. This can be a real deal-breaker for many shooters out there.
Smartphone interface & preview – smart or not?
In theory, the idea of using your high-resolution smartphone as a preview touch screen for the Osmo is quite smart, but there are a bunch of problems: first of all, I would recommend that you get a dedicated phone / iPod touch for the Osmo, simply because if a phone call or notification comes in, it can ruin your shot. And there is no real way of preventing a phone call from coming in because you need the Wifi connection, which means you can’t switch to Airplane Mode. You might be able to use the Do Not Disturb mode on iPhones instead, but I did not test this.
UPDATE: I was wrong here – it is possible to enable the Airplane mode and then re-enable Wifi only. I was not aware that that is possible. This is also possible on Android, similarly. Very neat!
Secondly – and this might be an even bigger problem – is that of course your smartphone battery is drained quickly when using it as a preview and interface monitor. There is space to attach a charging cable, but you will have to connect it to an external battery pack, which you would have to somehow attach to Osmo in order to not be in the way.
Power drain
Despite this, I didn’t even run into this problem when reviewing the Osmo, simply because I was only supplied with one battery for the device. This meant that when it drained after 20-30 minutes of continuous use, I had to recharge it for 1-1.5 hours before I could use it again. DJI provided us with a larger Inspire battery which was supposed to last longer, as it can be connected running a cable from the battery in my pocket to the Osmo. This proved to be impractical as I also had to switch cameras because I was filming the wedding with a Sony a7S as well, so I decided no to go for the external battery most of the time.
Stabilisation
The stabilisation of the Osmo is quite good, and unlike with other gimbals which use third-party cameras, balancing is of course a non-issue for the Osmo. The joystick button control makes it a breeze to adjust the angle to your liking. Holding down the pistol trigger button below the grip, the direction of the camera temporarily stays put, and doesn’t follow your movements like normally.
Lenses
I used the Osmo with the supplied standard lens, the 1.7/15, which provided great shallow depth of field due to its wide aperture. Focusing with the virtual wheel isn’t easy though, and the autofocus isn’t great (and not continuous). I found this lens to be a good compromise between wide angle shots while not distorting too much, although in tighter spaces I often found it could have been wider. It’s the same old problem with the Micro Four Thirds sensor: it’s hard to find wide lenses because of the 2x crop sensor .
Footage
The X5R still holds a micro SD card slot in addition to the RAW recorder, which means you have easily playable proxies recorded simultanously. Even the DJI Go app records a preview image, which makes it even easier. Reviewing RAW footage has never been easier with any other camera I know.
Ingesting the DNG RAW sequences into your Mac works by using the included CineLight app, which also offers options to export those sequences. I then converted them into ProRes 4444 using Blackmagic DaVinci Resolve 12.5 to make them more edit-friendly.
The look of the 4K RAW footage is nothing short of spectacular. As expected, the highlight retention is exceptional, as are the details in the shadows. A formal lab test and some aerial footage will follow in a separate post by Sebastian, and be warned that the aerials looks absolutely mind-blowing. DJI has managed to release a product whose image quality can compete with the highest-end multicopter setups with much heavier and expensive cameras, and you probably wouldn’t see the difference.
Post production of RAW footage is obviously time and storage consuming, so I wouldn’t use the Osmo RAW on every production. However, when high quality is needed and you have the time for post production, then it can really shine. It would have been nice to find a compromise between the lossless RAW footage and the heavily compressed footage that ends up on the micro SD card. Hopefully DJI can license ProRes in the future and add this kind of recording to the X5R in order to accommodate for more everyday productions.
Conclusion
Using the Osmo RAW with the Zenmuse X5R makes you feel like you are using a gadget from the future. DJI seem to be far ahead of much of their competition in terms of interface and hardware. There are definitely interesting times ahead, and more and more established companies should brace themselves for DJI to disrupt their market.
This time, I see the market mostly in the multicopter / drone areas, considering the RAW quality of the X5R footage. I don’t see this disruption threatening other one-handed-gimbals or even their own original Osmo too much, simply because the noise of the unit will make it unusable for many practical applications which require original sound. For example, I don’t see a way of actually doing a walk-and-talk with the Osmo RAW due to its noise level.
Also, the amount of battery drain is troubling. About 20 minutes when shooting 4K or UHD RAW, maybe 30 or 35 when shooting 1080p. You will literally need 10-15 batteries to get through a day’s worth of shooting.
Despite its shortcomings, the DJI Osmo RAW X5R is a sign of what’s yet to come in the gimbal and stabilizer market. It will find its audience, and certainly also on higher-end productions because of its sheer RAW power and ease of use.